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The musical as drama

Author: Scott McMillin
Publisher: Princeton, N.J. : Princeton University Press, ©2006.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"Discussing composers and writers such as Rodgers and Hammerstein, Stephen Sondheim, Kander and Ebb, Leonard Bernstein, and Jerome Kern, The Musical as Drama describes the continuity of this distinctively American dramatic genre, from the shows of the 1920s and 1930s to the musicals of today."--BOOK JACKET.
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Genre/Form: Criticism, interpretation, etc
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Scott McMillin
ISBN: 0691127301 9780691127309
OCLC Number: 489645405
Description: xvi, 230 pages : illustrations ; 23 cm
Contents: Integration and difference --
The book and the numbers --
Character and the voice of the musical --
The ensemble effect --
The drama of numbers --
The orchestra --
Narration and technology : systems of omniscience --
What kind of drama is this?
Responsibility: Scott McMillin.
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Abstract:

Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's popular form of theater. This title explores the musical as a type of  Read more...

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Winner of the 2007 George Jean Nathan Award for Dramatic Criticism "A scholarly work, with good supporting bibliographic footnotes, this book merits serious study... Highly recommended."--Choice Read more...

 
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    schema:reviewBody ""Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive and irreverent forms of popular entertainment from which it arose a century ago."." ;
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